In TVB, there aren’t many artistes who are able to handle both tragedies and comedies at the same time. Myolie Wu is one of them. Perhaps it’s because these two kinds of artistic performances require one to be at the extreme end, thus each time, Myolie Wu is being branded as ‘exaggerating’. Looking at how she cried hard while her body’s trembling, or how she became comedic without bothering about her image. Though it might seem easy for her, I still felt that it was a pity for this lady. Is she going to continue being like that for the rest of her artiste career? Myolie Wu herself is a refined lady. When you look at her silently playing the piano on the stage with her eyes slightly closed, there’s a silent energy being erupted from her – this is then Myolie Wu. All those brainless, barbaric, or crude ladies are just her on-screen image only. Luckily, Amy Wong dug out her unknown special trait.

In a men’s drama, the actress is normally just a ‘vase’ inside it. Due to the limitation of the drama theme, most of the time, the actress can only develop as a sub-plot. Holdings hands and having a relationship will add on some gentle, light-hearted aspect into the entire drama. Of course, as compared to Aimee Chan, Myolie Wu’s scenes are evidently more important. Ko Wai Ying carried the entire drama’s turning point. Appearing in the third episode, she gave people a refreshing feeling. There wasn’t any dramatic exaggeration. She’s quite natural being quiet and peaceful. Haven’t seen such a simple and elegant Myolie Wu before. Having little make-up; talking in a gentle manner; A shy smile – she’s just like the-girl-next-door. Myolie Wu, who’s not using too much force and applying constraint in her acting, gave a shot at many emotional scenes. This is quite a challenge for someone who’s been used to acting comedies.

In order to make this character perfect for the later part of the story plot, the scriptwriter gave her a broken family. But this wasn’t too complicated. It’s just that she was trying too hard to pursue perfection. Giving up her dream to help out her biased step-mother; Helping her troublesome younger brother to find a toy; Giving up on her rest to practice the piano in order to fulfill her grandmother’s wish……A good daughter, a good sister, a good granddaughter. The image of this good girl might be likeable, but it’s lacking of a human touch. Therefore, no matter how touching the family scenes might be, all these are just futile. Recently, TVB can easily go up to a wrong path while trying to come up with a character. They often portray the female lead to be as perfect as a goddess, and then make use of the ‘2 guys chasing 1 lady’ model to develop the plot, but they have no idea that this is just what makes the character to get bashed easily. It’s just like Yu So Chau (Linda’s character) in Moonlight Resonance. Inevitably, Ko Wai Ying stepped onto this old path as well. After bringing a surprise to the audience at the first glance, what followed after was countless criticisms.